Puzzle

Puzzle, 2013, gouache on card, 22 x 16 cm

This small painting is called Puzzle. I was thinking of a child’s sliding plastic puzzle that has sixteen pieces (one missing so you can move the pieces) when constructing the shapes in the painting. The puzzle could never be realised due to the irregular forms and instead I wanted the eye to swivel around the colourful composition. 

First Come First Served, Lion and Lamb Gallery

One of my first experiments with gouache entitled 'Puzzle' is currently in the exhibition First Come First Served at the Lion and Lamb Gallery in London. The gallery is situated within an East London pub in Hoxton and has around ten to eleven exhibitions a year which are curated by painters. The unusual context of the gallery allows a somewhat unexpected experience with viewing Contemporary painting.

Installation view- Puzzle, 2013, gouache on card, 22 x 16 cm (second from right)

Photograph by artist Ruth Solomons (drawing is closest to the right)

The gallery is open from- Monday 1-11, Tuesday-Saturday 12-11, Sunday 12-10 continues until 4^th January 2014. See the Lion and Lamb Gallery website for more information about the space.

Stereoscope

Artist Andy Parkinson has written a review of Stereoscope at Mrs Rick’s Cupboard, Primary on his excellent blog patternsthatconnect

Below are installation views from Stereoscope. The exhibition dates were 25th October - 6th December 2013.

Outside installation shot of exhibition

Installation shot of exhibition with- Rotating Shape

Left view of Stereoscope

Central view of Stereoscope

Tent, 2013

(Left to right) Diamond and Unveil, 2013

(L to R) Split and Monument, 2013

 (L to R) Planet, 2011, Shelter and  Route, 2013

Pink Pyramid, 2011

(L to R) Figure, Flags I and Balance I, 2013

(L to R) Non-Stop Radio and Wobble, 2013

Crash Open 2013

One of my paintings ‘Over the Hill’ has been selected for this year’s Crash Open 2013 at Charlie Dutton Gallery, London. The panel were artists Phillip Allen and Neal Tait & Time Out Art Editor Martin Coomer.

Andrew Ekins, Angelo Picozzi, Antonia Manoochehri, Archie Franks, Ash Fitzgerald, Ben Cove, Ben James, Bethe Bronson, Charles Williams, Christopher Browne, Covadonga Valdes, Cyrus Shroff, Dan Beard, Daniel Crews-Chubb, David Dipré, David John Beesley, Enzo Marra, Fagner Bibiano Alves, Felicitas Aga, Flo Brooks, Gavin Herrington, Gemma Marmalade, Hamish Mclain, Helen Judge, Howard Rogers, Ikuko Iwameto, Joe Packer, Joel Tomlin, Katerina Kremasioti, Katherine Rose, Kirsty Gash, Laurence Noga, Lee Maelzer, Louisa Chambers, Margot Sanders, Mark John Evans, Matthew Pang, Michael Boffey, Olivia Hicks, Paul Savage, Paula MacArthur, Reka Ritt, Rob Mead, Roger Hopgood, Sarah Sparkes, Selma Parlour, Sian Sims, Tori Brown, Virginia Verran & Wayne Clough

CHARLIE DUTTON GALLERY

1a Princeton Street, London WC1R 4AX

11th December - 11th January 2014

opening Wednesday 11th December 6-10 pm

Stereoscope, Mrs Rick's Cupboard, Primary, Nottingham

Stereoscope: Louisa Chambers

25 October – 6 December 2013

For the next exhibition at Mrs Rick’s Cupboard, Louisa Chambers envisages the space functioning as an optical device similar to a Stereoscope viewer.

A stereoscope is a device for viewing two separate images that have been taken from a slightly different viewpoint corresponding to the spacing of the eyes. When observing the images through the device, the two dimensional images merge together to become a single three dimensional scene. Chambers’ recent paintings respond to on-going research into depiction and visual perception on two dimensional surfaces, concentrating on the mediums of drawing, collage and painting.

Multiple dimensions and perspectives that feature in the paintings are explored through the materiality of paint and the repetition of geometric motifs which are floating ambiguously in space. These shapes and silhouettes have been assembled in the artworks into anthropomorphic forms that teeter between abstraction and figuration. Chambers’ paintings present alternative universes where impossible science fiction/architectural structures comment on conflicts between our inner dream worlds and the technological robotic control on our everyday lives.

Louisa Chambers graduated with an MA in Painting from the Royal College of Art (2005-2007) and a BA (Hons) Fine Art with first class honours at the University for the Creative Arts, Farnham (2002-2005).

Selected recent exhibitions include: Rotation, New Court Gallery, Repton, Derbyshire (Solo- 2013) Discernible, Zeitgeist Arts Projects, London (2013) Flatland, Blyth Gallery, London (2012) Needle’s Eye, BayArt Gallery, Cardiff and Transition Gallery, London (2012). Chambers was a finalist in the Zeitgeist Open 2012, selected in 2010 and 2009 for the Salon Art Prize, Matt Roberts Art and John Moores 25 at Walker Art Gallery, Liverpool in 2008. She is currently Artist-in-Residence at Repton School, Derbyshire.

For press enquiries please email info@MrsRicksCupboard.com

Rotation

Installation photographs from Rotation at New Court Gallery, Repton in Derbyshire

19th September - 20th October 2013

Works left to right: Non-Stop Radio, 2013, acrylic and oil on canvas, Tessellate, 2013, acrylic and oil on canvas and Inside/Outside, 2013, mixed media

Left to right: Template, 2013, mixed media and Monument, 2013, mixed media

Monument, 2013, mixed media

Installation view of works on paper

Paintings left to right: Get Lucky, 2013, acrylic and oil on canvas, Rotation, 2013, acrylic and oil on canvas, and Shake, 2013, acrylic and oil on canvas

Works in the foreground: Inside/Outside, 2013, mixed media  and Fold, 2013, mixed media

Installation view of three dimensional works with paintings

Shelter, 2013, mixed media

Works left to right: Constellation, 2013, acrylic and oil on canvas, Rotating Shape, 2013, acrylic on card and Points, 2013 acrylic and oil on canvas

Works left to right: Constellation, 2013, acrylic and oil on canvas, Rotating Shape, 2013, acrylic on card, Points, 2013 acrylic and oil on canvas and Unveil, 2013, acrylic and oil on canvas

Rotating Shape: Side 1, 2013, mixed media

Rotating Shape: Side 2, 2013, mixed media

This solo exhibition featured new works that were made whilst undertaking the artist residency post at Repton School in Derbyshire.

In this new series of works I have been appropriating geometric patterns and structural forms that originate from scientific and mathematical education manuals. I have recently been exploring ideas concerning how we perceive three dimensional shapes on two dimensional surfaces. I challenged these ideas and my practice further by creating painted cardboard reliefs and sculptures that were based on shapes and forms lifted from preliminary drawings and collages. These objects were dispersed around the gallery to act as playful interactions with the paintings. 

Rotation, New Court Gallery, Repton, Derbyshire

Rotation (rəʊˈteɪʃən) 

— n

The act of rotating; rotary motion

(Collins English Dictionary - Complete & Unabridged 10th Edition 2009)

New Court Gallery is delighted to host a solo exhibition of new artworks by Louisa Chambers. For this exhibition the artist has set up imaginary points of reference from inside of the picture frame right to the centre of the gallery space, linking painted surface with sculptural objects and its surroundings. Expanding the dictionary’s definition further, into astronomical terms, Rotation, can be understood as the Earth's path around the sun controlled by a gravitational pull. Similar to the arrangement within the gallery space, points can be navigated outside the white cube, where forms revolve in the everyday, suggesting that larger forces are at play.

The geometric patterns and structural forms that feature in the paintings originate from architectural sources and diagrams used in scientific and mathematical educational manuals. These shapes and silhouettes have been assembled in the artworks into anthropomorphic forms that teeter between abstraction and figuration. Flat three-dimensional shapes are dispersed around the gallery space acting as playful interactions with the paintings. Formal concerns that extend between the 3D object flipping to the materiality of the 2D painted surface refer to the artist’s on going experimentation in the notions of painting.

Louisa Chambers graduated with an MA in Painting from the Royal College of Art (2005-2007) and a BA (Hons) Fine Art with first class honours at the University for the Creative Arts, Farnham (2002-2005). Selected exhibitions include: Discernible, Zeitgeist Arts Projects, London (2013), Flatland, Blyth Gallery, London (2012) Needle’s Eye, BayArt Gallery, Cardiff and Transition Gallery, London (2012). Chambers was a finalist in the Zeitgeist Open 2012, selected in 2010 and 2009 for the Salon Art Prize, Matt Roberts Art, and John Moores 25 at Walker Art Gallery, Liverpool in 2008. She is currently Artist-in-Residence at Repton School, Derbyshire.

Exhibition Dates: 21^st September-19^th October

Private View: Friday 20^th September, 6-9 pm

New Court Gallery, Burton Road, Repton, Derbyshire DE65 6FH

The gallery is open Monday-Wednesday, 12-4pm or by appointment only

Please contact: louisa@louisachambers.com/07876280621

Website: http://www.repton.org.uk/art-exhibitions

Twofoldness

Unveil, 2013, acrylic and oil on canvas, 23 x 30 cm

Timer, 2013, acrylic and oil on canvas, 35 x 20 cm

I am currently researching theories on depiction and visual perception on two dimensional surfaces (more specifically, concentrating on the mediums of drawing, collage and painting). I have been focusing on Richard Wollheim’s (1987) theory of duality called ‘twofoldness’. ‘Twofoldness’ is when studying (for example) a painting, the viewer is aware of both the materiality of the medium and the depicted subject.

Diamond, 2013, acrylic and oil on canvas, 40 x 30 cm

Twist, 2013, acrylic and oil on canvas, 40 x 30 cm

The aims of these recent paintings are an attempt to create this duality by incorporating vibrant colours and the repetition of geometric shapes. I experimented with glazes and scumbling to achieve visual veils and heighten the friction between the object and the ground of the painted surface.  The shapes and forms in the works are sourced from paper stencils and scientific diagrams that originate from education manuals.

Snake, 2013, acrylic and oil on canvas, 23 x 30 cm

Constellation, 2013, acrylic and oil on canvas, 23 x 30 cm

Points, 2013, acrylic and oil on canvas, 23 x 30 cm

Discernible, Zeitgeist Arts Projects

I have two paintings in the next exhibition with Zeitgeist Arts Projects, Discernible at Bond House Project Space, ASC, Goodwood Road, New Cross, London SE14 6BL.  See below for more details

Private View: 24th April 2013, 6-9pm

Late Opening for SLAM Last Fridays: 26th April, 6-8.30pm

Exhibition continues: 25th April until 11th May, Friday and Saturdays 1-5 pm or by appointment

Artists in Dialogue: 11th May, 4-5pm

 

 

Architecture Parlante

“Étienne-Louis Boullée's (b. 1728 Paris, France, d. 1799 Paris, France) greatest architectural legacy is not what was built from his designs but the designs themselves. He never went to Italy, yet his theories greatly influenced the development of Neoclassical architecture there.

Boullée wanted to be a painter but switched to architecture at his father's insistence. He learned to make architectural drawings with painterly effects of light and shadow. Although few of his designs were ever realized, his drawings have always been admired for both their beauty and their invention.” 

Three

Tresham’s Triangular Lodge, Listed Grade I, Rushton, Northamptonshire

“In 1593, the date he later put on the Lodge, Sir Thomas Tresham took the firm intention to build a monument to the Holy Trinity in the grounds of Rushton Hall, northwest of Kettering. Work started on the Triangular Lodge the following year. It was originally known as the Warryners Lodge, presumably because the rabbit keeper lived there. It is thought to be the oddest building of its period in the country as its overriding premise is “three”. It has three sides measuring 33ft - each with three gables; three storeys; three triangular windows; and three times three gargoyles. The exterior is littered with trefoils, the family symbol displayed, of course, in threes. Biblical quotations – three of them - are carried on as a frieze along the outside walls with each text consisting of, wait for it, 33 letters. Sir Thomas had served 15 years in prison for his Catholicism and the building was a public reflection of his faith. Tresham’s son was executed as one of the Gunpowder Plotters and his head put on a stake.”

These images of Tresham’s Triangular Lodge were sourced from English Heritage and the RIBA.

Lorenz Stöer

These inventive geometric designs are by the artist Lorenz Stöer (c.1537-c.1621) and were published in his book 'Geometria et Perspectiva' in 1567. The images were sourced from Harald Fischer Verlag.